“GOTE” SCRIPT ANALYSIS
GOALS, OBSTACLES/OTHER, TACTICS, EXPECTATIONS
GOAL
 What is the goal of the character in the scene?
 Often the main characters’ goals clash, causing the dramatic tension in
the scene. The main characters could also have the same goal and
have another obstacle creating the tension in the scene.
 Characters could have opposing goals (protagonist vs. antagonist)
 EXAMPLE: In Lord of the Flies, Ralph wants to build a fire to be
rescued and Jack wants to hunt for meat to survive.
OBSTACLE/OTHER
 What are the obstacles in the way of the characters achieving their
victory or goal?
 Connect this to the major conflict types – human vs.
human/nature/society/machine/supernatural or internal conflict
 On stage, you will always have an “other” with whom you are
partnering. This partner can be an obstacle, and you should always be
aware of connecting with that force.
TACTICS
 What tactics do the characters use to try to achieve their goals or
overcome their obstacles?
 Switch up the tactics to make a scene more interesting.
 Tactics fall into two categories: punishment (e.g. raising voice) and
reward (e.g. smiling)
EXPECTATION
 What expectation does the character have of how his or her life will be
better once the goal is achieved? This is also called raising the stakes.
This adds interest and urgency to your scene.
 EXAMPLE: Why is it important that you get out of the elevator
NOW? (e.g. you are running out of air, there is a pregnant woman in
labour, a bomb, a wedding?)
 Characters should expect to achieve the goal of the scene. In the
course of a play, unachieved goals can change to become new goals.
“GOTE” Script Analysis
Your Name:___________________________________________________
Brief Information About the Character
Character’s Name: _________________________ Age: ________ years
Gender:
Male
Female
Marital Status: _______
Education Level: ______________________________________________
Economic/Social Status: ________________________________________
Goal
Obstacles/Other Tactics
Expectation
What do
I really want?
When do I want it?
From whom in the
play do I want my
goal? Who in the play
can help me? Who in
the play can hurt me?
Who is an obstacle?
Why? What are other
obstacles? What are
my deepest fears?
Why do I expect to get
it? Why does it excite
me? What will I do to
get it? What will
happen if I don’t get
it?
How can I get it? How
(and whom) can I
threaten? How (and
whom) can I induce?
USING “GOTE” WITH MINIMAL SCRIPTS
Your Assignment
In pairs, you will select one minimal script from After Liverpool by James
Saunders (Source: Interpretation by C. Lundy and D. Booth). You will
perform your scene in front of the class.
Using the principles of “GOTE”, you will examine and analyze the script’s
dialogue very closely to create a context for your scene and use this context
to perform your scene. In order to do this, you must read all of the minimal
scripts on both sides of the handout to get a sense of the arc of both
characters.
Note - You cannot do the same script that another pair is performing.
When performing, the class will perform the scripts in the order that they
appear as a suite of pieces – by the time all the scenes have been performed,
an overall storyline will be presentable to an audience.
You must complete the following tasks:
 Memorize your script. No scripts or cue cards can be allowed.
 Analyze your scene according to “GOTE”. Who are these characters?
Where does the scene take place? What/where did they come from
(both physically and emotionally) prior to this scene? The context for
your entire scene should be clear for the audience.
 Block your scene according to the fundamentals of “GOTE”.
 Experiment with a variety of tactics to keep your scene interesting.
 Remember – you are both acting and reacting!
 Play the pauses. What happens between the lines of dialogue is very
interesting to the audience.
 Perform your scene in front of the class.
 Each of the two actors must submit a completed “GOTE” Script
Analysis on the day of the performance – marks must be deducted
from the evaluation of your scene if this is not done.
Minimal Script Presentation and “GOTE” Analysis Assessment
Name: _________________________ Scene Partner: _____________________
Date: __________________________________
Criteria
Period: ________________
Level 1
50-59%
- limited
understanding of
GOTE
Level 2
60-69%
- moderate
understanding of
GOTE
Level 3
70-79%
- considerable
understanding of
GOTE
Level 4
80-100%
- high degree of
understanding of
GOTE
Relationship
Dynamics –
Communication
/10
- limited ability to
demonstrate
relationship
between
characters
- moderate ability
to demonstrate
relationship
between
Characters
- thorough ability
to demonstrate
relationship
between
characters
Development of
Character -Communication
- demonstrates a
limited ability to
stay focussed and
not break
character during a
performance
- demonstrates a
moderate ability
to stay focussed
and not break
character during a
performance
- demonstrates a
limited
understanding of
the meaning
behind the spoken
word (text)
- a limited
understanding and
application of
movement with
intention and
motivation
- demonstrates a
moderate
understanding of
the meaning
behind the spoken
word (text)
- a moderate
understanding and
application of
movement with
intention and
motivation
- considerable
ability to
demonstrate
relationship
between
characters
- demonstrates a
considerable
ability to stay
focussed and not
break character
during a
performance
- demonstrates a
considerable
understanding of
the meaning
behind the spoken
word (text)
- a considerable
understanding and
application of
movement with
intention and
motivation
- a limited
mastery of the
principles of
blocking
- a moderate
mastery of the
principles of
blocking
- a considerable
mastery of the
principles of
blocking
- a high degree of
mastery of the
principles of
blocking
Script Analysis –
Thinking/Inquiry
/10
/10
Understanding of
Subtext
(Interpretation) –
Communication
/10
Stage Business –
Application
/10
Blocking –
Application
/10
Mark Totals: _______ out of 10 (Thinking/Inquiry)
_______ out of 30 (Communication)
_______ out of 20 (Application)
- demonstrates a
thorough ability to
stay focussed and
not break
character during a
performance
- demonstrates a
thorough
understanding of
the meaning
behind the spoken
word (text)
- a high degree of
understanding and
application of
movement with
intention and
motivation
Scene Tactics Worksheet
Tactic
(Label as
punishment or
reward)
Objective
Tactic
Tactic
(Label as
punishment or
reward)
(Label as
punishment or
reward)
Tactics – Actable Verbs – The Four Fs
Think: Action – “I flirt (fill in the blank: smile) at you.”
Reaction – “I am flirted with (smiled at).”
Fill in each column with actable verbs for each category.
Fight
Flee
Feed (the Ego)
Flirt
Script Analysis: (The G.O.T.E. Sheet)
Definition of Terms:
Goal: The character’s principal quest which the actor assumes. Everything on
stage must be seen, first and foremost, as a character pursuing a goal. Words such
as intention, want, objective, action, or purpose are sometimes used
interchangeably for the word goal. It’s the main thing - or things - your character
wants within the context of your piece (monologue or scene). The goal should be
something specific and should incite the character to action.
Other: The other is the person (or persons) with whom, for whom, or from whom
you seek your goal. There is always an “other” in acting; no goal can be achieved
simply by yourself. In drama all the victories must be hard-earned, and must be
achieved through interpersonal struggle. The other in the scene, therefore, is what
makes achieving goals difficult. You may also think of the other as your main
obstacle, another “O” word. The struggle to overcome obstacles creates much of
the dynamics - the work - of acting.
Tactics: Tactics are the character’s means of trying to achieve goals; they are
what gives acting its “guts”. Tactics, and trying to achieve goals through them,
make acting “real” for the actors, and make actors indistinguishable from
characters, at least from the audience’s point of view. A good actor will be able to
move fluidly and purposefully from tactic to tactic in pursuit of victories
throughout the text.
Expectation: This gives tone, spring, and excitement to the pursuit of goals and
the quest for victory. It also lends every dramatic action at least a touch of
enthusiasm. Expectation, excitement, enthusiasm, and even energy are “E” words
that make a memory package: They define characters who have not only wants,
but passions as well. The victory you are seeking as the character is not just an
ordinary whim; it is the prime goal of your life, and it is within your reach if you
try hard enough.
[The definitions contained above were paraphrased from Acting I, Fifth Edition;
Robert Cohen; Pgs. 61-65, Copyright 2008]
Use the following as an outline for completing your “GOTE” sheet. Answer all of
the following questions with as much detail as possible.
1. Basic information about the character:
Name:
Gender:
Age:
Marital status and history:
Educational level:
Socio-Economic level:
2. Goal: What do I really want? When do I want it?
3. Other: From whom (in the play) do I want it? Who in the play can help me?
Who in the play can hurt me? Who is an obstacle? Why? What are my deepest
fears?
4. Tactics: How can I get it? How (and whom) can I threaten? How (and
whtat/whom) can I induce?
5. Expectations: Why do I expect to get it? Why does it excite me? What will I do
when I get it?
Character Analysis:
A.) Describe your character in the scene and monologue using the following
categories:
Physical:A listing of their appearance including size, body type, colouration,
posture,etc.
Social: Includes status, rank, religious orientation, social adaptability, etc.
Psychological: How the character thinks and feels inside. Are they a psychopath,
manic-depressive, introvert, extrovert, are they secure or insecure, etc.?
Moral: How far are they willing to go to get what they want? How do they
measure right and wrong?
B.) Create at least four abstractions for the character from the following list and
say WHY you chose that abstraction; as in: “If my character were an animal,
they would be a cat because they are quick and always seem to land on their
feet.”
Animal, Cartoon Character, Colour, Car, Musical Instrument,
Song, Book, City, Item of Clothing
C.) Write a one page Biography of the character you are playing in both the scene
and the monologue. Some of the information listed above may be part of this
“bio”. Include relevant information about the character’s childhood and formative
years, their nuclear family history, idiosyncrasies, quirks, predisposition to
addiction or habits, major fears, major regrets, and favorite colours, foods, or
places, as well as any other information you can think of.
The “Bio” should be arrived at via the following three stages of inquiry:
Investigation: what is already in the script
Inference: what may be inferred from what is given
Invention: what you create with your imagination.
D.) Explain the Given Circumstances of the piece for both the scene and the
monologue. Tell what the time, place, weather, and any other pertinent
information is; use specific details.